1r ESO - Visual i Plàstica - La línia
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The document discusses line drawing techniques. It introduces different artists such as Picasso, Henri Matisse, Quibe, Kris Trappeniers, Joan Sèculi, and Vince Low. Various line drawing methods are explored, including a single line, combination of lines, and scribbling. Picasso is quoted emphasizing the importance of capturing simplicity and spontaneity through drawing like a child.
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1r ESO - Visual i Plàstica - La línia
- 1. DIBUIX EN LÍNIA EDUCACIÓ VISUAL I PLÀSTICA – 1 ESO Escola Betúlia
- 2. La línia Treballem la línia i el traç. Veurem diferents artistes i realitzarem dibuixos amb diferents mètodes: una sola línia, combinació de línies, scribbling, etc.
- 3. Picasso Picasso famously said, “It took me four years to paint like Raphael, but a lifetime to paint like a child.”
- 4. Picasso Observeu on comença i on acaba la línia Només hi ha 1 traç
- 5. Picasso
- 6. Picasso
- 7. Henri Matisse "I have always considered drawing not as an exercise of particular dexterity (manual skill) … but as a means deliberately simplified so as to give simplicity and spontaneity to the expression, which should speak without clumsiness (poca traça), directly to the mind of the spectator." "Drawing is like making an expressive gesture with the advantage of permanence." "If I trust my drawing hand it is because in training it to serve me, I forced myself never to let it take precedence over my feelings."
- 9. Quibe - Christophe louis Quibe
- 10. Quibe
- 11. Quibe
- 12. Quibe
- 13. Differantly
- 14. Kris Trappeniers
- 15. Joan Sèculi
- 16. Joan Sèculi
- 17. Scribbling
- 18. Scribbling
- 19. Scribbling - Vince Low
- 20. Scribbling - Vince Low
Editor's Notes
- Picasso famously said, “It took me four years to paint like Raphael, but a lifetime to paint like a child.”
- http://www.henri-matisse.net/drawings.html "I have always considered drawing not as an exercise of particular dexterity… but as a means deliberately simplified so as to give simplicity and spontaneity to the expression, which should speak without clumsiness, directly to the mind of the spectator." "Drawing is like making an expressive gesture with the advantage of permanence." "If I trust my drawing hand it is because in training it to serve me, I forced myself never to let it take precedence over my feelings." Matisse considered his drawing to be a very intimate means of expression. The method of artistic execution — whether it was charcoal, pencil, crayon, etcher's burin, lithographic tusche or paper cut — varied according to the subject and personal circumstance. His favorite subjects were evocative or erotic — the female form, the nude figure or a beautiful head of a favorite model. Other themes relate to the real or imagined world of both Oceania and the Caribbean -- the lagoons, the coral and the faces of beautiful women from these far off lands. Still other subjects were inspired by classical mythology. Matisse often made drawings to inform his paintings and sculptures, feeling that these drawings should be quick, gestural exercises that captured the form and emotion evoked in him by the subject. As the most direct expression of the artist's thoughts, drawing often helped Matisse to work out compositional and stylistic problems or new ideas. During the mid-1930s, he created distinctive series of pen-and-ink drawings on the subject of the artist and his model, while in the early 1940s he conceived his famous sequences of Thèmes et Variations, sensitively drawn spare works in elegant, unshaded line, describing simplified forms of female figures or still lifes. In the late 1940s and early '50s, his drawings become bolder, the contour line thicker, the forms even more simplified and devoid of detail. The latest large drawings of acrobats (1951–52), executed with a thick brush placed at the end of a long stick, are made up of contour only. They are contemporaneous with a cutout series of Blue Nudes, and the two mediums seem to represent two different approaches to form and space. The relationship between figure-ground becomes ambiguous and space complements the intended form. The form appears almost sculptural. Matisse was also involved with printmaking for more than fifty years. From 1900 until his death in 1954 he completed more than eight hundred intaglios, lithographs, woodcuts, linoleum cuts, and monotypes. His attitude toward printmaking was a somewhat unconventional one in that for him it was a personal process, an extension of drawing, and a means of unwinding after long and intense periods of painting. As such, there were several distinct times during which Matisse was particularly active in the medium: 1906, 1914, and during the 1920s. In 1929 alone he made more than one hundred etchings and drypoints. The intimate nature of Matisse's printmaking is visible in his working process. Unlike many artists who depended on close relationships with master printers in their workshops, Matisse spent more time on an etching press installed in his studio that allowed him to print when and as he liked. This intimacy is also evident in his choice of subjects, which were mostly portraits of friends, family, and fellow artists, as well as images of female figures and nudes, including a great number of odalisques made after a trip to North Africa. Matisse's etchings and drypoints were executed on a small scale with linear fluidity, giving them a sense of immediacy and spontaneity, like pages in a sketchbook. Alternately, his lithographs were on a larger scale and made grander statements. These lithographs exploited the tonal possibilities of the medium that allowed Matisse to achieve effects of volume and depth.
- "I have always considered drawing not as an exercise of particular dexterity… but as a means deliberately simplified so as to give simplicity and spontaneity to the expression, which should speak without clumsiness, directly to the mind of the spectator." "Drawing is like making an expressive gesture with the advantage of permanence." "If I trust my drawing hand it is because in training it to serve me, I forced myself never to let it take precedence over my feelings."
- Quibe: http://quibe.strikingly.com/ http://society6.com/quibe/prints I am a French illustrator based in Paris, specialized in minimal illustration in a very specific one line style.
- Bonjour. We are Emma & Stephane. Two French artists. And we don’t smoke. Differantly is a creative studio currently based in Paris and Berlin. Specialized in visual and graphic arts, we explore the concept of continuity through our one line minimalist artwork. For daily updates, work in progress and stalking opportunities, follow us along on our brand new Instagram. Commissioned works : Volkswagen, Akqa, Vivendi, Imagination, MullenLowe, Verizon, Publicis, Adobe...
- Chloe, I’m a paper cut artist based in Belgium. At the moment I don’t have the possibility to work full time, unfortunately, so I’m just experimenting with graphic design in order to develop a new way of presenting the paper works in the future. My paper cuts (usually about 1 meter tall) are based on tiny ‘continuous line’ drawings. The paper cuts are presented as a cut out line, directly installed on a wall, which creates a blurry shadow in the background. Paper cuts are pièces uniques but the drawings are sometimes reproduced by silk screen printing. I hope to get back to exposing work by the summer of 2015. Good luck with your course! Best, Kris
- https://www.youtube.com/watch?v=4-FP5YDbhGw My name is Vince Low, from Kuala Lumpur, Malaysia. I graduated fromThe One Academy with a Degree in illustration, and worked my way up from a designer to a creative group head in various advertising agencies. And now I am Head of Illustration at Grey Group Kuala Lumpur. Today, I am thankful for my success to what I thought to be a curse in my younger days-dyslexia. It is also the reason why I’m so involved in the series of campaigns, because I truly wish that the generations to come would not have to suffer what I experienced. When I was young, I remember feeling wrong in almost everything I had done. My learning disability had given me countless awful memories in my childhood. But there are two turning points in my life that changed everything, which I’ll unfold later, after sharing the nightmare that wasted my childhood.